This has led us to reflect more deeply on the presence of “TV transformed” in Brazil – in both content and forms of production, consumption and interaction – created precisely as a response in times of crisis, via the expansion and consolidation of these trends. This ambivalent scenario has led to an extremely interesting synthesis: even in the midst of the crisis (or to survive it), certain trends observed in previous years have been reinforced, such as an increasing adherence to new forms of production, distribution and consumption of TV fiction, like on demand content and mobile applications, the predominance of a “cycle of short stories,” with new formats of television fiction, in addition to the continuous profusion of national productions on pay TV. Paradoxically, however, the dynamism of the television industry in this year has rarely been matched in the past: Globo celebrated its 50th anniversary and Record aired its most successful fiction show of recent times. We observe this new production logic (Martín-Barbero, 2001), to be implemented in the country, based on the dynamics of the audiovisual context in 2017.Īs expected, the deep political and economic crisis experienced by the country in 2015 has affected various segments in the audiovisual field. Soon after, the same series has other open channel relocation (broadcasting) - Globo - with weekly frequency and extended commercial intervals. After awhile, we check its reallocation in a narrowcasting network - Mais Globosat - a paid channel, already with a time slot, and some advertising breaks. We exemplify with the production of a series that premieres on Globo Play with a start allocation in out-of-network (or post-network) channel with all the episodes of the first season, which allows to watch it in a marathon or at the time the user wants to. It would be possible to call this a scenario of multichannel transition, which is characterized by the coexistence of television fiction (its genres and formats) in broadcasting/post-broadcasting channels and in network/post-network channels. Investments in the areas of creation, production, distribution, and marketing have led to a rapid and growing presence of fictional products and formats in different channels, whether in open television, paid, digital channels, streaming and mobile devices. Within a scenario of slow economic recovery combined with the worsening of the political crisis, the audiovisual overview in 2017 repeated the contradiction, and it even strengthened, the dynamics verified the previous year.

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